Rivard’s range of genres (some overlapping) share common characteristics. One of his fortes is storytelling which is a persuasive element in all his writing. As a poet, he learned the lessons of compression and distillation. He carries forward devices of figurative language: conceits, similes, irony, pun and rhetorical figures, such as a sentence in the grammatical form of a question. For example, UP FRONT consistently draws on Socratic method, a pedagogy based on open-ended questioning of students, an activity intended to increase their knowledge.” Anne Burke- THE PRAIRIE JOURNAL (A Magazine of Canadian Literature) – Issue #84.
UP FRONT (flash fiction, Spring, 2024): “Deep…vivid…funny…endearing…dark…broad parameters when it comes to theme and tone…short but not always sweet…poignant…compelling…rich…withering…adolescent fear and delusion.” Eric Volmers, THE CALGARY HERALD.
CANALWATCH (flash fiction, Spring, 2022): “Dissolving into life is the epitome of everything the canal has given me,” muses a character in Calgary author Ken Rivard’s engaging, thoughtful and at times brilliant collection of flash fiction (very short stories, about 500 words each). Rivard’s 11th book is centred on a nameless “mysterious canal that might be found anywhere.” Each story recounts a “passing image” at the urban canal — a pregnant woman contemplates her unborn child, a homeless man and a passerby discuss vegetarianism, a police officer recognizes an author who freaked out when no one knew his name. Often told in the first person, the stories reveal pain, joy and vulnerability; tenderly observed moments of fleeting life.” ALBERTA VIEWS MAGAZINE, NOVEMBER 2022.
CANALWATCH: “The cover puffs don’t lie: Ken Rivard’s mastery of flash fiction, sudden fiction, postcard fiction, microfiction, short short stories – by any other name – is well established. With this collection, he trumps his own high standards: in surreal obliquity, character revelation, wit, humour, compassion and perspicacity. I know of no one in this country who has pulled the form through as many shapes and permutations; I know of no more perceptive, inventive flash fiction writer in the country, and there are a lot of people trying their hand at this difficult form these days!
So what’s different this go round?
For one thing, the author opens and closes most of the pieces in the book with the same starting phrase or sentence. The trick isn’t so much the parenthetic effect of the fish biting its own tail (tale?), but the tonal variations he is able to establish with that phrase or sentence over the course of as little as five hundred words. A borrowed trick from the villanelle, such as Dylan Thomas’s “Do Not Go Gentle into That Good Night,” perhaps, where each repetend is sounded with a different urgency or intent, a different tone, or an ironic flip is delivered that sends you back to read the piece again.
The poet’s gifts are everywhere in evidence as well. The pieces read well; the phrasing is mellifluous; the imagery startling and precise: “She has an avalanche way of talking” (the opening sentence and title of the second story); “The early morning sky over the canal is grey like charcoal woollen sweaters piled high on a shelf.” (“What the Rain Does” p. 81). Used sparingly, such metaphors and similes don’t intrude on the otherwise spare, laconic style, and direct, Carver-like working man’s prose.
His dialogue is crisp and spritely; his characters’ observations – be they from blue-collar, homeless, vagrant, or rich white and privileged characters – are always incisive and revealing. To get so much juice out of such a tight form is very tricky and the author is not only concise, but precise in his observations.
The significance of the title? All the action takes place around a fictitious canal that features a long promenade, big city byways, proximate parks and buildings. Could be in Amsterdam, could be in Provence, could be in Waikiki or any major city with a large vagrant population and lots of tourists. The writer explores every conceivable nook and cranny, from the steps leading down to a dark, polluted watercourse, to park bench spots marked and claimed by a plastic pumpkin full of leftover Halloween treats. The interactions between the narrators and tourists, the various classes of people frequenting the area – whether to cage spare change or walk the promenade, or stop to examine the sights, gives the author more scope than is customary in a flash fiction collection. The author covers as much ground as he would in a novel.
Suffice to say, anyone remotely interested in contemporary Canadian fiction or the flash fiction genre in particular would do well, and be amply rewarded by several re-readings, never mind, a promenade through a first reading of canalWatch.
Ken Rivard is showing the rest of us louts how to write prose; he’s never lost his poetic touch or let go of his poetic leash, its telescopic reach.” Richard Stevenson, author and retired teacher of English and Creative Writing.
CANALWATCH: “In his previous books of flash fiction Ken Rivard has proven that he is a master of this form. CANALWATCH furthers that mastery. There is a significant range to these pieces as he introduces a myriad of characters in a myriad of situations. His writing will stun you with its breadth, accuracy and depth. As you read you will encounter wildly imagined moments along a canal. Most importantly, this is a book about characters at vulnerable moments in their lives, and through much tenderness, he astutely finds the heart of each story. It is often impossible to predict what will happen next, and the more you read the more you will be rewarded by the accumulated power.” Robert Hilles, Governor Generals Award Winner and current author of Don’t Hang Your Soul on That and From God’s Angle.
MOTHERWILD (novel, 2014): “MOTHERWILD is an excellent tale about daily life for Joey Cantell. Author Ken Rivard does an excellent job creating a believable and relatable character in Joey. Not only does the main character go through bits of adolescent growth during the story, he has to go through this period with a very dysfunctional family. The story follows Joey Cantell from his confusing interactions with his immediate family members to his neighbours downstairs and other real characters introduced during the narrative. Any reader who has gone through life with an addicted family member will relate to the struggles faced by Joey and his siblings. This is a beautiful book that is sure to tug at the heartstrings of readers everywhere.” Lisa MacLean, Tofts Reviews.
“MOTHERWILD (has) a unique sense of time and place…which he (Ken Rivard) largely presents without the rose-coloured hue of nostalgia.” Eric Volmers, THE CALGARY HERALD.
“In his 10th book, Ken Rivard shows himself to be a pro at capturing the realities of working-class humanity. MOTHERWILD is a work of beauty, a coming-of-age story and the eventual healing of a mother-son relationship. Rivard’s writing is honest, refreshing, startling, imaginative and gets the reader emotionally involved. MOTHERWILD is a really good read!” W.P. Kinsella.
To Ken Rivard: “MOTHERWILD…I enjoyed a great deal and I wish you all the success you deserve.” Denys Arcand, Filmaker: JESUS OF MONTREAL, THE DECLINE OF THE AMERICAN EMPIRE and THE BARBARIAN INVASIONS (among others).
MISSIONARY POSITIONS (fiction, 2008): “Developing different protagonist with distinct voices is tough but Rivard pulls it off. A master of imagery…once again Rivard treats these very personal subjects with humanity. Missionary Positions reads real, touches readers deeply, and hits home on many fronts.” Wendy Rajala- THE CALGARY HERALD.
THE TROUBLE WITH UNCLE KEVIN (children’s literature, available through Calgary Communities Against Sexual Abuse, 2007, revised/re-issued 2024 and not available commercially): “The C.C.A.S.A. would like to acknowledge the flexibility and willingness of the author, Ken Rivard, to participate in this project as a member of a collaborative team. He contributed his highly creative and professional writing skills while demonstrating a great respect for the expertise of the C.C.A.S.A. team and honouring the vision of the project.” Annemarie Tocher, Program Manager, 2007.
WHISKEY EYES (fiction, 2004): Finalist for The Writers’ Guild of Alberta 2005 Howard O’Hagan Short Fiction Book Award. “Rivard’s flash fiction works…inventive…poetic…all relate to a single narrative arc and thus create a moving and lasting impression. In an era when more and more people live to an advanced age, many readers are likely to relate to Mark’s (the main protagonist) dilemma and find the subtlety and humanity with which Rivard treats this very personal, yet universal theme to be a source of comfort and quiet inspiration.” K. Gordon Neufeld, THE CALGARY HERALD.
“An intense book that deals with the substantial emotional involvement stemming from the responsibility of caring for aging parents.” Jennifer Partridge, THE CALGARY HERALD.
“Demonstrates the problem when those aged parents become the children…a difficult problem handled brilliantly.” Kirk Layton, CHAPTERS/INDIGI website.
BOTTLE TALK (fiction, 2002): Finalist for The Writers’ Guild of Alberta 2003 Howard O’Hagan Short Fiction Book Award. “In this collection of short monologues, Rivard explores alcoholism with an approach that ranges from humorous to brutally frank. The voices we hear in BOTTLE TALK are male and female, young and old, drunk and sober, and always convincing. This is largely due to Rivard’s ability to vary his style from tight and poetic to sloppy and colloquial in a way that makes each persona distinct and believable. BOTTLE TALK is an excellent display of Rivard’s talent as a writer. It is dynamic and sincere, and although it is connected by a common thread of alcoholism, the ugly truths that Rivard forces us to view with eyes wide open are not just those of alcoholism but the basic truths of humanity and life.” Heather Doody, CANADIAN BOOK REVIEW ANNUAL.
“Intensely written with compelling, graphical honest. Rivard is an astute observer. Reading this book is like probing open an open wound that has not healed. It is a brilliant collection of truth and glimpses into ones very soul.” Anne Burke, PRAIRIE JOURNAL.
SKIN TESTS (fiction, 2000): Finalist for The Writers’ Guild of Alberta 2001 Howard O’Hagan Short Fiction Book Award and The City of Calgary W.O. Mitchell Book Prize. After reading the book, feel free to create your own critical review.
MOM, THE SCHOOL FLOODED (children’s literature, 1996, revised/re-issued, 2007, Korean rights sold to Gibburi, 2009): “The book’s success is based on its perfect marriage of text and illustration. Ken Rivard’s closing dialogue involves the reader in the creative process, providing firsthand experience of ‘creative storytelling’.” Christine Linge, CM MAGAZINE.
“…young readers will enjoy watching someone else test the boundaries of credibility.” Diane Fitzgerald, CM MAGAZINE.
“Readers are left with a brilliant illustration to let their minds solve the rest of the story. MOM, THE SCHOOL FLOODED is an excellent story to add to your collection.” John Dryden, CM MAGAZINE.
“A remarkable story about a school gone wet.” Kathleen Garber, SMS BOOK REVIEWS.
IF SHE COULD TAKE ALL THESE MEN (fiction, 1995): Finalist for The Writers’ Guild of Alberta 1996 Howard O’Hagan Short Fiction Book Award. “Amazing collection…captures a poignant vignette from the life of an extraordinary ordinary person. Such thought-provoking word portraits bring alive a diverse representation of humanity and render the reader party to intense moments in private lives. The author (Rivard) does an absorbing and competent job of conjuring lives in these micro-bites of narrative.” Virginia Gillham, CANADIAN BOOK REVIEW ANNUAL.
“The pleasure is in opening one door after another into lives quickly drawn, sketches of characters caught in odd moments neither random nor monumental. It’s this interpretation of lives, this ever-latent potential for changing places, that I find the most engaging quality of this collection, though adroit descriptions are another. The reader will be drawn in by curiosity as to what or who might appear next…exemplary…funny…mysterious…quite wonderful…moments of unusual perception and fine writing appear throughout.” Roo Borson, BOOKS IN CANADA.
“Exciting and well-crafted…Rivard’s short, short stories are carefully written narratives that provide glimpses into the lives of some very unusual people…poignant…heartbreaking and honest…the best capture the telling moments of life with humor and compassion…engaging.” Debbie Howlett, QUILL&QUIRE.
FRANKIE’S DESIRES (poetry, 1987): “Rivard feels closer to the down and out than to the high and mighty. Frankie, whose frank desires, devilish sense of humor and ironical awareness of his own devilty makes the book lively. Rivard is a fine reporter of the foibles of this protagonist. The wit is rich and typical of the tone of this artfully sophisticated but innocent- even simple-looking work. Like Frost before him, Rivard is touching the heart with Frankie’s apparent naivete, only pretending to be EVERYMAN. This lovely, lively, loving work may be the most important re-positioning of a Canadian poet to appear this year…establishes him as a powerful writer and this collection is recommended for libraries with Commonwealth, Canadian and contemporary shelves. Rivard, the Calgary poet of the unforgettable Frankie, will be heard from again and again.” Robert Solomon, SMALL PRESS.
“Frankie ain’t beautiful but he’s audaciously real.” Mark Lowey, THE CALGARY HERALD.
“Ken Rivard’s poems are sad/funny reflections of ourselves as we dream-desire our way through the maze that is defined as life. His verse lines echo in the ears of all who would listen to him.” Michael O. Nowlan, CANADIAN BOOK REVIEW ANNUAL.
“Frankie’s Desires become our’s- to live-to open up to-to understand.” Gerald Hill, THE EDMONTON JOURNAL.
KISS ME DOWN TO SIZE (poetry, 1983): “Sense of commitment…written from the engaged stance of an observing human being in this world. Rivard keeps a trained eye (and ear) on the emotional energy that lie in wait beneath the lines…is not written by a pompus poet in capital letters. Its voice is gentle, insistent in its quiet way and everywhere fraught with a concurrent sense of humility and necessity.” Judith Fitzgerald, CANADIAN LITERATURE.
“Rivard has a good sense of when to spin out and where it should go. And he nicely flips a surreal attachment to many of his statements.” Michael Cullen, OUT OF THE BLUE.
“Presents with bracing force a regional voice that is astringent, arresting and sometimes unforgettable- almost impossible to ignore.” Allan Hustak, ALBERTA REPORT.
“Writes in simple, colloquial diction…uses spare language, an unadorned style.” Anne Burke, WRITERS QUARTERLY.
“Rivard’s essential humanism is obvious…able to write empathically about elderly and young alike…diction and imagery are strong and pleasing.” Martin Singleton, CANADIAN BOOK REVIEW ANNUAL.
“The most impressive aspect of Rivard’s work is its tendency towards a surrealistic, dream-like quality.” Bob Attridge, NEWEST REVIEW
KEN RIVARD AUTHOR 